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Vol. 6, No. 1 · Jan 2008 ISSN 1705-1452 Vol. 6, no. 1 · Jan 2008 ISSN 1705-1452 NEWSLETTER Published by the Institute for Canadian Music, Faculty of Music, University of Toronto Editor: Robin Elliott _______________________________________________________________________________________ Changes at the CBC The recent announcement that CBC Vancouver Radio community to conduct an exercise in self-assessment. Orchestra will be disbanded on its 70th birthday is seen The discussion has illuminated varied perspectives on by some observers to be the final nail in the coffin for the function the CBC serves and what its programming our national broadcaster. The CBC is dedicated not to means to its listeners. Perhaps one of the most difficult commercial interests, but to public arts, a rare mandate questions is what this means for Canadian composers in contemporary business practice (and especially in and artists already teetering on the brink of obscurity? broadcasting). Much has changed in Canada since the Being left alone in the Canadian wilderness does not orchestra’s inception in 1938, though, and the CBC is bode well, even in the springtime. unapologetically charting a new course. The question is Unfortunately, the CBC is now playing an not whether the changes should happen, but rather how appeasement game with the Canadian public (whoever they are taking shape and being implemented. they currently conceive them to be) that ultimately Changes in the programming for Radio 2 have exchanges trendsetters for trends. Vincent Spilchuk been announced over the last couple of years. More pop and jazz have been programmed, but traditional The next issue of the ICM Newsletter will have listeners have been promised that a ‘classical core’ will the dateline May 2008. be retained. The Friends of Canadian Broadcasting (as quoted on CBC’s website) are calling it ‘responsible Institute for Canadian Music management,’ but others disagree. Despite the potential Faculty of Music for the changes to address the listening habits of many University of Toronto diverse groups, including new Canadians and young Edward Johnson Building listeners, the CBC is taking the safest route possible. 80 Queen’s Park The possibility of the CBC turning into yet another Toronto, ON M5S 2C5 easy-listening/adult contemporary station comes as a disappointment, regardless of one’s age or background. Tel. (416) 946 8622 Out of these proposed changes, a fascinating Fax (416) 946 3353 discourse has emerged which, though perhaps futile in Email: [email protected] stemming the inevitable tide of change, is providing a Web page: www.utoronto.ca/icm unique opportunity for the Canadian art music PERCY GRAINGER’S CANADIAN REPERTOIRE Glen Carruthers Brandon University Prior to 1960, Canadian orchestral repertoire with the Elgar Choir in Port Hope, Ontario, in 1916, was rarely programmed except by Canadian opened with two choral compositions by Clarence conductors, such as Geoffrey Waddington (1904- Lucas (1866-1947), who was one of Canada’s best- 1966), Jean-Marie Beaudet (1908-1971) and Victor known composers, followed by Grainger playing Bach- Feldbrill (b. 1924). Indeed, the situation today is much Busoni’s Prelude and Fugue in D major, BWV532, and the same. Nonetheless, a handful of internationally the Choir singing Dett’s Listen to the Lambs. renowned foreign conductors programmed Canadian As Grainger explained in a letter to his mother, music in the period 1913-1958. To this list, which ‘No one I had met seemed to know Dett was Canadian, includes the Frenchman Paul Paray (1886-1979), the & I felt stirred to do something for him, & focus German-born William Steinberg (1899-1978), and the attention on his composition, so during the Bach English-born conductors Sir Adrian Boult (1889-1983) applause I held up my hand & said: and Leopold Stokowski (1882-1977), may be added … Of course Clarence Lucas is famous the Australian-born musician Percy Grainger (1882- throughout the whole English speaking world, 1961), who conducted the Toronto Philharmonic but perhaps you do not all know that R. Orchestra in two Canadian works in 1946. Nathaniel Dett is also a Canadian (cheers). I Grainger was responsible for introducing the think he was born near Niagara Falls.2 He is a works of many composers to a wider audience. As Negro, a great friend of mine, & a highly gifted Grainger himself explained in a letter to the music musician and composer. He is head of ... music journalist and critic, D. C. Parker: at Hampton Institute, Virginia, & he is doing I think it might be said that I was the first to magnificent work. It is lovely for me to have this 3 conduct any of the large works of Delius in opportunity of hearing these works here.’ America (I did, for the 1st time in America, ‘The This was, according to Grainger, the first time he had Song of the High Hills,’ Piano Concerto, Cello ever spoken to a concert audience, since at least at this Concerto, North Country Sketches), … the first stage in his career he ‘had a horror of public speaking.’ to bring forward Arthur Fickenscher’s marvelous He was moved, however, by a ‘passionate wish that ‘The Seventh Quintet’ [‘The Seventh Realm’ – Canadians should know [Dett was] born in Can[ada].’ 4 ed.], the first to present Grieg’s ‘Norwegian Grainger’s little speech included the Folksongs’ Op. 66 & ‘Peasant Dances’ Op. 72 in observation that ‘[A]s an Australian I am naturally many lands, the first to popularize the Canadian particularly interested to hear the works of Canadian Negro composer N. Dett’s ‘Juba Dance,’ & the composers.’5 Although Dett’s works were the only American folkpieces of David Guion, the first to Canadian compositions featured in Grainger’s recital play Carpenter’s Concertino for piano & repertoire, he did have occasion to conduct two orchestra (1916, Chicago), [and] the first to play 1 Canadian works in Toronto in 1946. Albeniz in several countries. Prior to the concert of 21 May 1946, Grainger Grainger’s admiration for the Canadian composer had appeared many times in Toronto, first in 1912, and Nathaniel Dett, who was born in the same year as most recently on 16 Nov. 1945 at a concert with the Grainger (1882) and died in 1943, is well documented Toronto Symphony Orchestra led by the redoubtable in Grainger’s own writings. It is evident that Grainger Sir Ernest MacMillan. That concert, at Massey Hall, knew many of Dett’s works, and he included two featured Grainger in the triple role of pianist, conductor movements of In the Bottoms Suite – an excerpt from and composer. He led the orchestra in his own ‘English ‘Prelude’ (Night) and ‘Juba Dance’ – in his concert Waltz’ and ‘Norse Dirge’ (both from Youthful Suite) repertoire. with Sir Ernest playing the piano parts, and then Grainger was well aware of Dett’s Canadian background at a time when Canadians themselves 2 Dett was indeed born in Drummondville (now Niagara Falls), knew little of Dett or his music. A concert by Grainger Ontario. 3 Percy Grainger, ‘To Rose Grainger,’ 12 February 1916, letter 3 of Gillies and Pear: 19. 1 Percy Grainger, ‘To D. C. Parker,’ 26 April 1933, letter 30 of The 4 Percy Grainger, ‘To Nathaniel Dett,’ 6 March 1925, letter 20 of All-Round Man: Selected Letters of Percy Grainger 1914-1961, ed. Gillies and Pear: 74. Malcolm Gillies and David Pear (New York: Oxford University 5 Percy Grainger, ‘To Rose Grainger,’ 12 February 1916, letter 3 of Press, 1994): 114. Gillies and Pear: 19. 2 Grainger and MacMillan traded places, the former think you will like it. The principal viola for the playing the piano in Handel in the Strand and in ‘Proms’ this year is Stanley Solomin [the correct Fauré’s Ballade for piano and orchestra.6 spelling is Solomon – ed.] – who was discharged Shortly after the concert, which was a great last year from the army just too late to be success, Sir Ernest forwarded to Grainger a copy of engaged by us but who has been playing this Saturday Night, which contained a review by Hector season with an American Orchestra.10 He is an Charlesworth.7 Grainger responded, conveying the excellent violist and can be counted on to do the happy news that he had been invited to reappear in solo part justice.11 Toronto the following month: Grainger thought that Ridout’s Ballade sounded ‘like You gave me such a wonderful time in Toronto just the thing’ and it was added to the program.12 + were so kind in every way that I cannot thank The concert, presented at Varsity Arena before you enough. As a result of all you did I have an audience of over 5000 (including Sir Ernest), been asked to both play + conduct one of the comprised the works cited in Grainger’s letter, with the Promenade concerts, on May 23 [the actual date addition of Shepherd Fennel’s Dance by H. Balfour was May 21 – ed.], + I think I will give an ‘all- Gardiner (British, 1877-1950), Britannia – A Joyful English-speaking music’ program, play Overture by Violet Archer (Canadian, b. 1913), and the Addinsell’s Warsaw Concerto + Morton Gould’s aforementioned Ballade for viola and string orchestra American Concertette, + conduct some ‘English by Godfrey Ridout (Canadian, 1918-1984). Paul Gothic Music’ (13th century to Bach) + the Scherman conducted the Addinsell and Gould works whole of my ‘Youthful Suite’ (of which ‘Norse while Grainger was at the piano, but Grainger Dirge’ + ‘English Waltz’ are the 3rd + 5th conducted the remainder of the program.13 movements).8 I would much like to do a Both Archer’s and Ridout’s works had already Canadian work. Can you recommend one to me? received several performances. Britannia – A Joyful ... I would be so grateful if you could make a Overture (1941) had been broadcast, with Sir Adrian 9 suggestion to me.
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